Royal Ballet Japan Tour 2016

[Naomi M]

And the casts outside Tokyo

 

 

Giselle

 

6/29 6:30p.m.　Fukuoka 

Giselle： Morera

Albrecht： Kish

Hilarion ： Stepanek

Pas de Six （lead dancer）：Choe, Campbell

Myrta： Crawford

(Note: Yuhui Choe is from Fukuoka)

 

7/1 6:30p.m.　Hyogo

Giselle： Nunez

Albrecht： Muntagirov

Hilarion ： Gartside

Pas de Six （lead dancer）：Kobayashi, Zuchetti

Myrta： Mendizabal

 

Romeo and Juliet

 

7/3 1：30p.m.　Nagoya

Juliet : Lamb

Romeo : McRae

Mercutio : Campbell

Tybalt : Avis

Benvolio : Dyer

 

Giselle 

 

7/6 6:30p.m.　Fukuyama (Hiroshima)

Giselle： Morera

Albrecht： Kish

Hilarion ： Stepanek

Pas de Six （lead dancer）：Takada, Hay

Myrta： Calvert

Edited June 3, 2016 by Naomi M

[alison]

Glad to see Stepanek is getting some Hilarions - I had started to wonder.

[Fonty]

I do wish Stepanek didn't have the same surname as a certain toothy tennis player.  Each time his name is mentioned, I get a bit startled for a moment!

[alison]

I'm past that now, but yes, I used to do the same

[Naomi M]

Cast changes, Francesca Hayward replaces Iana Salenko in Romeo and Juliet, due to schedule conflict of Salenko in Berlin.

 

http://www.nbs.or.jp/blog/news/contents/topmenu/2016-12.html

 

Unfortunately I don't have tickets for this performance

[SwissBalletFan]

Cast changes, Francesca Hayward replaces Iana Salenko in Romeo and Juliet, due to schedule conflict of Salenko in Berlin.

 

http://www.nbs.or.jp/blog/news/contents/topmenu/2016-12.html

 

Unfortunately I don't have tickets for this performance

 

 

I cannot really see a conflict in Berlin's schedule. Maybe this is the sign that Hayward is really being put forward as a principal. (also the promotion allows Ms Hayward to do this)

[Jamesrhblack]

I cannot really see a conflict in Berlin's schedule. Maybe this is the sign that Hayward is really being put forward as a principal. (also the promotion allows Ms Hayward to do this)

Not that I'm a cynic, but Marquez was useful as small, Salenko useful as higher profile, and Ms Hayward now the next big thing....

[alison]

Maybe this is the sign that Hayward is really being put forward as a principal. (also the promotion allows Ms Hayward to do this)

Well, technically it doesn't take effect until the beginning of next season, but whether that will matter to audiences is debatable, I guess.

[FLOSS]

I don't think that anyone will quibble about the precise point at which the promotion takes effect. Most people will regard  them as Principals from the date of the announcement. Any way there must be enough money in the kitty to permit Hayward's promotion, or that of any other newly appointed Principal who may be called to serve due to illness or injury during the tour, to take immediate effect. It seems to me that what Hayward really needs now is a partner who can act as well as dance and you can't help thinking that the director is on the look out for such dancers all the time.

Edited June 11, 2016 by FLOSS

[Jamesrhblack]

I don't think that anyone will quibble about the precise point at which the promotion takes effect. Most people will regard  them as Principals from the date of the announcement. Any way there must be enough money in the kitty to permit Hayward's promotion, or that of any other newly appointed Principal who may be called to serve due to illness or injury during the tour, to take immediate effect. It seems to me that what Hayward really needs now is a partner who can act as well as dance and you can't help thinking that the director is on the look out for such dancers all the time.

 

I think a gentleman who can do both rather splendidly was also promoted and I'm delighted that they will dance together next season....

[Balletfanp]

And seeing her and Vadim dancing together this evening, it strikes me that there is another potentially strong partnership. It's a shame they have partnered her with McRae (no disrespect to him) in R&J in Japan, because I can't help imagining her and Vadim in it....

[bridiem]

Personally I think there's a real chemistry between Hayward and Campbell, and that partnership should be given the chance to blossom.

[capybara]

And seeing her and Vadim dancing together this evening, it strikes me that there is another potentially strong partnership. It's a shame they have partnered her with McRae (no disrespect to him) in R&J in Japan, because I can't help imagining her and Vadim in it....

 

Frankie and Vadim were fabulous together in Alice.

[Jan McNulty]

I don't think that anyone will quibble about the precise point at which the promotion takes effect. Most people will regard  them as Principals from the date of the announcement. Any way there must be enough money in the kitty to permit Hayward's promotion, or that of any other newly appointed Principal who may be called to serve due to illness or injury during the tour, to take immediate effect. It seems to me that what Hayward really needs now is a partner who can act as well as dance and you can't help thinking that the director is on the look out for such dancers all the time.

Well they've already got one! And maybe now he will get a chance at Romeo. Having seen him in that role at BRB I can confirm that he is the epitome of Romeo!

[FLOSS]

I don't think that it influenced the decision to promote the four dancers concerned but it is very convenient for the company to have a spare Romeo, a spare Albrecht and a spare Giselle all of whom are Principals for the tour.Hayward who started out as a spare Juliet has now been pressed into service. You can't help wondering whether any of the other "spares" may find themselves dancing principal roles during the tour as a result of injury, illness or other cause.

 

Now the problem about pairing Muntagirov with Hayward is that there are other more senior dancers who may be in need of a good partner in the not too distant future and they are likely to be given priority over Hayward.  One of the really intriguing things, for me at least, is what management's plans are for Reece Clarke. He has served his time in the ranks. It looks like he is being given an opportunity to show what he can do as he is making his debut as the SPF's cavalier in the coming season.

 

I think that the casting details for the second booking period will be particularly illuminating. We may only find out what management's plans are for Katsura when we collect the cast lists but I suspect that she will move up the ranks fairly quickly. Another dancer who is beginning to stand out for all the right reasons is Theo Dubreuil whose movements have started to look more polished and finished of late. He is beginning to register without doing more than those around him.

Edited June 12, 2016 by FLOSS

[capybara]

 

Now the problem about pairing Muntagirov with Hayward is that there are other more senior dancers who may be in need of a good partner in the not too distant future and they are likely to be given priority over Hayward.  

 

Another dancer who is beginning to stand out for all the right reasons is Theo Dubreuil whose movements have started to look more polished and finished of late. He is beginning to register without doing more than those around him.

 

I simply do not not 'get' why the many ballerinas aged 30+ should have a priority call on Muntagirov. At 26 he is very much the future of the RB alongside all the emerging talent. It has been nice this year as he has partnered Stix-Brunell,  Hayward and Heap as well as Lamb, Cuthbertson, Nunez and (earlier) Morera.

 

I agree that it has been good to see Teo Dubreuil getting some opportunities to show how well he dances - e.g. in Within the Golden Hour.

[aileen]

It makes no sense to partner Hayward with Muntagirov when there are two shortish male principals in the company and several fairly tall female principals. I didn't think that Hayward and Muntagirov worked too well together in The Invitation. The height disparity is an issue but I also think that they have very different stage presences which don't really complement each other. Of all the partners I have seen Muntagirov with at the RB I have liked Stix-Brunell by far the best. I feel that they are a good physical match but, on top of that, her soft, lyrical style suits his refined dancing and stage persona.

[Jamesrhblack]

I simply do not not 'get' why the many ballerinas aged 30+ should have a priority call on Muntagirov. At 26 he is very much the future of the RB alongside all the emerging talent. It has been nice this year as he has partnered Stix-Brunell,  Hayward and Heap as well as Lamb, Cuthbertson, Nunez and (earlier) Morera.

 

I agree that it has been good to see Teo Dubreuil getting some opportunities to show how well he dances - e.g. in Within the Golden Hour.

And, of,course, Yanowsky "got" Reece Clarke ;-)

[Fonty]

It makes no sense to partner Hayward with Muntagirov when there are two shortish male principals in the company and several fairly tall female principals. I didn't think that Hayward and Muntagirov worked too well together in The Invitation.

 

I didn't see that partnership, but I agree that certain ballets don't look right if the female is much shorter than the male.  The Invitation is one of them, because they are supposed to youngsters of a similar age, and their height difference must make her look considerably younger than him. 

 

I know McRae is on the short side, who is the other shortish male? 

[capybara]

And, of,course, Yanowsky "got" Reece Clarke ;-)

 

She also had Muntagirov in The Invitation.

[aileen]

Campbell was the other principal that I was referring to, Fonty.

[Fonty]

I hadn't really registered that Campbell was not particularly tall, I have been so overwhelmed by his  handsome good looks wonderful performances. 

[penelopesimpson]

I didn't see that partnership, but I agree that certain ballets don't look right if the female is much shorter than the male.  The Invitation is one of them, because they are supposed to youngsters of a similar age, and their height difference must make her look considerably younger than him. 

 

I know McRae is on the short side, who is the other shortish male?

 

I did not enjoy the Hayward/Golding partnership which I felt did neither of them any favours. The height disparity was particularly noticeable.

[alison]

And Golding, I'd guess, is shorter than Muntagirov?

[GTL]

I'd say broader and slightly taller.

[FLOSS]

I don't think that it is the marked difference in height of the Girl and her Cousin that is the root of the problem in the Invitation.It is the  ballet itself. Here are some thoughts about Hayward's partners in the full length ballets in which she has appeared so far. Hayward gave a wonderful account of Manon with a tall partner. The pairing worked because both  danced and responded to each other throughout the performance, Hayward and Muntagirov gave a charming account of their respective roles in Alice's Adventures in Wonderland. and all but transformed it into a ballet by doing so. I  think that the problem with the Hayward Golding  pairing in Romeo and Juliet  was entirely attributable to the fact that a Juliet needs to dance with a responsive partner as her Romeo. Being a good a dance actress will not compensate for a Romeo who is an unresponsive partner and a bit of a dull dog.There is not a lot that a dancer can do to compensate for her partner's lack of emotional impact. I think that there are many who hope that Hayward gets a more inspiring  more responsive Romeo  next time.

 

Perhaps management needs to understand that even if it is not going to use a system of emploi in casting dancers it needs to identify the dull unresponsive ones and try to avoid casting them in roles which require them to appear emotionally involved and responsive to the actions of the other characters on stage with them. There are ballets in the RB's repertory which only require the dancer to perform the choreographed movements musically, in the style prescribed by the choreographer observing the choreography's dynamics as they relate to the music. It seems to me that at the very least the company should identify the actors and non actors in the company and try to avoid casting unresponsive non actors in roles that do require acting skill as miscasting does nothing for the reputation of the dancer or the company. There is little point in casting a dancer to play Romeo who is a dull stick.

 

I have to say that having seen both casts in the Invitation I think that the ballet does not work because it is showing its age. For me the fact that the ballet lacked impact had little or nothing to do with the height of any of the dancers concerned and everything to do with the fact that it is a period piece in a way that Ashton's Fille is not. I don't want anyone to think that I believe that Hayward and Naghdi did not do everything that they could with the role of the Girl, merely that the ballet as a whole is far too long. It takes an eternity to introduce the characters and establish who everyone is and the narrative keeps meandering off for no good reason except there is music which needs to be filled with action of some sort or cut.. Hayward danced with a cast that included Avis, Yanowsky and Muntagirov, They were far more effective in their roles than the second cast. They did all that could possibly be done to make their characters live but the problem lies with the ballet itself rather than the performers. Each of the characters  now seems little more than a trial run for a character who is going to turn up in a later MacMillan ballet to much greater effect.

 

I discussed the Invitation's lack of impact with someone I know who had seen it when it was new. He said that he thought that the ballet was now only of historical interest as an example of MacMillan's early narrative work because it showed how great a developmental leap MacMillan made when he created his Romeo and Juliet. At the time the Invitation was made there were concerns about MacMillan's ability to handle narrative which were not allayed by its creation as it was obvious that he was still experiencing difficulties handling narrative effectively and succinctly. At the time he was compared unfavourably with Cranko who did have a gift for story telling.

 

As I have been writing this I have come to realise that the contemporary criticism of this early narrative piece of MacMillan's were not that different .from that currently directed at Scarlett's ballets.  Perhaps that is the real reason for reviving a ballet that has dwindled into being little more than a shabby little shocker. It does provide a sense of  perspective when assessing the new narrative works of the current crop of young choreographers.

Edited June 12, 2016 by FLOSS

[Balletfanp]

I didn't notice the height disparity when Muntagirov and Hayward were dancing last night. I only thought how adorable they were together and plainly had chemistry. More on that in my review on the other thread which I will write later.

 

I don't think Muntagirov's height made the character unconvincing as an adolescent either. My own son shot up to over 6 foot at the age of 14 or 15 and towered above most if his contemporaries for a long time (and at 6' 4" now, he still does!).

[alison]

Each of the characters  now seems little more than a trial run for a character who is going to turn up in a later MacMillan ballet to much greater effect.

 

Thanks, FLOSS.  I think I'd been aware of that in the back of my mind throughout the run, but your words have crystallised it.  BTW, Hayward's Manon partner isn't actually *that* tall, I don't think - there were several of the cast in Obsidian Tear who looked to be taller than him - but I guess it's all relative. Sadly, following a recent interview, it doesn't sound as though that's going to be a possible cast for R&J.

If I had a problem with Muntagirov possibly seeming a bit mature for the Cousin, I think that was probably more down to the effect of the costume on him than anything.  After all, last time around I saw Stuart Cassidy in the role, and I'd guess he was probably older - and certainly less looking like a teenager.  IIRC, he was quite effective, though.

[SPD444]

Frankie says on Instagram that she is performing Juliet with Steven tomorrow, was this expected or is someone injured, I thought she was dancing on the 19th?

[Naomi M]

Francesca is dancing on 17th (a replacement to Salenko). Marianela will be doing Juliet on 19th as previously announced.

 

I went to the first night of Romeo and Juliet tonight and overall it was a brilliant performance, Lauren's sensitive and innocent but also intelligent Juliet was very convincing and touching. Federico a great partner and good chemistry between them, and of course Gary Avis stole the show in act 2 with his menacing, powerful portrayal of Tybalt. 

[Naomi M]

Today there is also a school matinee for Romeo and Juliet. The casts are,

 

Juliet Natalia Osipova

Romeo Matthew Golding

Mercutio Marcelino Sambe

Benvolio Nicol Edmonds

Tybalt Ryoichi Hirano

 

It seems to be the same cast as on June 18th evening performance. 

[caseybeatrice]

Inconveniently for ballet-watching, I work Tue-Sat so today was the first day I could catch a show for the Royal Ballet's Japan Tour. I saw the Nuñez/Soares matinee show. I had hoped to see some of my all-time favourite dancers who gave me many happy evenings when I lived in London but the dates didn't work out; anyway, it is always a pleasure to see any RB cast dance. Today was no exception. Here's the cast list. (You can run it through Google Translate.)

I loved being reunited with one of my favourite companies. Though, in all honesty, I can't say the RB were on top form this afternoon. The company seemed a little tired; I've read on the forum recently that the corps is showing very clean, synchronised footwork these days but I didn't catch much of that in the town square scenes, though they improved in the later acts. Crawford, Bracher, and Stix-Brunell as the three harlots were great and the mandolin dance was fantastic (plaudits to Sambé especially) but otherwise it seemed a little cluttered and directionless at times, and I've watched town scenes in the ROH where it didn't seem that way at all. Zucchetti and Hay were really good but I've been spoiled by seeing excellent RB Mercutios and Benvolios (if only via videos). I liked Gartside very much as Tybalt; and Avis and McGorian made Lord and Lady Capulet two of the most interesting characters in the story simply with their stage presence.

 

As for Romeo and Juliet, what can I say but: Marianela, what a star. Precise, airy, pliant, and musical as always, her footwork so fast and silky. I think Soares has charm (though he appeared a little underpowered today…) but unfortunately he can't match her brightness. She's wonderful. Perhaps not my definitive Juliet but watching a ballerina of her calibre is ever an honour. Juliet's emotional development isn't as obvious with Nuñez as compared to some other dancers but she can still bring me to tears in the final scenes.

 

Reception was very warm (scattered standing ovation at the tail end of the applause), especially for Nuñez and Soares. As an interesting side note, I saw a lot of people with programmes pointing out Hirano's and Takada's head shots/bios. It's a pity these two new Japanese principals don't get to dance the leads in any shows here; though I suppose the tour cast was confirmed long before the promotions were.

Next Sunday, Giselle!

[penelopesimpson]

I don't think that it is the marked difference in height of the Girl and her Cousin that is the root of the problem in the Invitation.It is the  ballet itself. Here are some thoughts about Hayward's partners in the full length ballets in which she has appeared so far. Hayward gave a wonderful account of Manon with a tall partner. The pairing worked because both  danced and responded to each other throughout the performance, Hayward and Muntagirov gave a charming account of their respective roles in Alice's Adventures in Wonderland. and all but transformed it into a ballet by doing so. I  think that the problem with the Hayward Golding  pairing in Romeo and Juliet  was entirely attributable to the fact that a Juliet needs to dance with a responsive partner as her Romeo. Being a good a dance actress will not compensate for a Romeo who is an unresponsive partner and a bit of a dull dog.There is not a lot that a dancer can do to compensate for her partner's lack of emotional impact. I think that there are many who hope that Hayward gets a more inspiring  more responsive Romeo  next time.

 

Perhaps management needs to understand that even if it is not going to use a system of emploi in casting dancers it needs to identify the dull unresponsive ones and try to avoid casting them in roles which require them to appear emotionally involved and responsive to the actions of the other characters on stage with them. There are ballets in the RB's repertory which only require the dancer to perform the choreographed movements musically, in the style prescribed by the choreographer observing the choreography's dynamics as they relate to the music. It seems to me that at the very least the company should identify the actors and non actors in the company and try to avoid casting unresponsive non actors in roles that do require acting skill as miscasting does nothing for the reputation of the dancer or the company. There is little point in casting a dancer to play Romeo who is a dull stick.

 

I have to say that having seen both casts in the Invitation I think that the ballet does not work because it is showing its age. For me the fact that the ballet lacked impact had little or nothing to do with the height of any of the dancers concerned and everything to do with the fact that it is a period piece in a way that Ashton's Fille is not. I don't want anyone to think that I believe that Hayward and Naghdi did not do everything that they could with the role of the Girl, merely that the ballet as a whole is far too long. It takes an eternity to introduce the characters and establish who everyone is and the narrative keeps meandering off for no good reason except there is music which needs to be filled with action of some sort or cut.. Hayward danced with a cast that included Avis, Yanowsky and Muntagirov, They were far more effective in their roles than the second cast. They did all that could possibly be done to make their characters live but the problem lies with the ballet itself rather than the performers. Each of the characters  now seems little more than a trial run for a character who is going to turn up in a later MacMillan ballet to much greater effect.

 

I discussed the Invitation's lack of impact with someone I know who had seen it when it was new. He said that he thought that the ballet was now only of historical interest as an example of MacMillan's early narrative work because it showed how great a developmental leap MacMillan made when he created his Romeo and Juliet. At the time the Invitation was made there were concerns about MacMillan's ability to handle narrative which were not allayed by its creation as it was obvious that he was still experiencing difficulties handling narrative effectively and succinctly. At the time he was compared unfavourably with Cranko who did have a gift for story telling.

 

As I have been writing this I have come to realise that the contemporary criticism of this early narrative piece of MacMillan's were not that different .from that currently directed at Scarlett's ballets.  Perhaps that is the real reason for reviving a ballet that has dwindled into being little more than a shabby little shocker. It does provide a sense of  perspective when assessing the new narrative works of the current crop of young choreographers.

Well done for being more frank than I dared be!

 

Hayward and Golding as Romeo and Juliet was a washout for me.  Here we had a lovely young girl falling passionately in  love with....well, somebody who just grinned a lot and then struck a concerned pose when he remembered.  I can see Goldings strengths, not least that he is probably a reliable partner, but in roles that call for great dramatic interpretation, he is entirely at sea.  I do not know where this places him for the future.